The first three notes of Ray Chen’s performance filled the Chan Centre with longing. The larghetto opening of Giuseppe Tartini's “Devil’s Trill” eased the audience into Chen’s artistry before a violent pull propelled them into his vivid performance.
Chen, a Taiwanese-Australian violinist and YouTuber, is known for his ability to blend the modernity of pop culture with the old world of classical music. On Nov. 1, Chen gave his first live talk, titled “Behind the Screens with Ray Chen: Finding Your Voice On Stage and Online.”
Chen’s talk was specifically aimed toward emerging musicians interested in bridging the gap between the classical music industry and the internet. As a speaker, he showed up true to his words and his art — not much different from his online personality. He was charismatic and passionate about his work, and this came through in both his music and words.
Chen emphasized the importance of practice when it comes to blending music with online influence. To learn a new piece, you must practice. To be comfortable in front of a camera, you must practice. The discipline learned through the process of picking up your instrument, your camera or even your spoon to eat some cereal — then learning how to work through that discomfort — is how a musician learns to in the limelight.
“Discomfort is an opportunity to grow,” Chen said. While this quote may sound redundant or trite, his point rang true. Grounded in personal experience, his advice to young musicians did not result in eye-rolls from the audience. Instead, what spread through the crowd was a series of nods and quiet agreements as they listened to an artist whose career has thrived through risk and reinvention, time and time again.
Though the talk offered a glimpse into his philosophy and personality, Chen’s performance the following night was where his ideas came alive. Through his playing, he demonstrated what words alone could not: music’s ability to bring people together.
Alongside Chelsea Wang, a fellow Curtis Institute graduate and a rising-star musician, Chen is on tour, performing a seemingly standard set of violin repertoire with a twist from his unique expression. His recital begins with Tartini’s “Devil’s Trill.” Following the excitement of the Devil’s infamous serenade, Ray continues with Camille Saint-Saëns’ Violin Sonata No. 1 in D minor, Op. 75.
The program’s most compelling work was the opening following the intermission, Bach’s infamous “Chaconne,” a cornerstone in violin repertoire and a true test of musicality. Chen’s expressiveness as a person and speaker was reflected in his musical ability.
Chen concluded his performance with his encore of Joe Hisaishi’s Merry Go Round of Life arranged by Farrington for the violin and piano.
During his performance, Chen shared his affinity for structuring his programs like a meal — a deliberate progression of flavours beginning with a fond appetizer and closing with a warm dessert. With each piece, he brought out a new taste, showcasing a wide variety of expressions and techniques.
His unique performance was a reminder of Chen’s mission with his work, which he laid out during his talk. Classic music, no matter how it ages, will never be too old for development, he said. His tour invites his audience and other listeners to consider what live classical music can sound and feel like in the 20th century, even with the convenience of Spotify and YouTube.
Whether in front of a camera or in front of hundreds of people, Chen makes classical music feel alive. His energy is contagious. As the notes faded, the audience showed their appreciation with a series of standing ovations — three, in fact, which nearly extended the concert an hour longer — applauding not only Chen’s skill, but the love and passion for music behind it.
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